T.M. Callaway interview with John Wheeler, Jean DeCasseros, Larry Moschel, Curtis Pirkle, Malcolm Linkous, and Bill Tolbert (part two)

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Note: This recording is available upon request. In this second part of a two-part recording, Marketing major, T.M. Callaway undertakes a project to test if pictures of folktale motifs could be used to test the creativity of advertising job applicants. It is a variation on the Thematic Apperception Test created by Henry A. Murray. In the second part of his project he interviews and tests non-creative employees at Coats and Clarks Sales Corporation. This recording begins with Callaway interviewing Curtis Pirkle, Section Head of the Thread Department at Coats and Clarks, starting with his career. At minute 4:01, Callaway begins the test during which Pirkle discusses learning Uncle Remus stories as a child. At minute 8:21, Callaway interviews Malcolm Linkous, Section Head of Domestic Zippers at Coats and Clarks. After stating his biographical information, at minute 10:21 Linkous responds to the images. The interview finishes with Bill Tolbert, who works in order and inventory control, at minute 13:49. After discussing his job and education, Tolbert responds to the images and reminisces on his experiences with Uncle Remus stories at minute 16:11.
John Wheeler (1929- ?) was born in Des Moines, Iowa. He moved many times during his childhood including to Dallas, Texas; Tampa, Florida; and Athens, Georgia. He graduated from University of Georgia with a degree in Journalism. Wheeler worked for Richs Inc. in their advertising department for three years, and later for Tucker-Wayne as Copywriter. Jean DeCasseros (approximately 1927- ?) was born in Mansfield, Pennsylvania. She grew up in West Virginia and attended Northwestern University. After graduating, she worked in a department store and began a career in advertising. She worked in small advertising agencies in Ithaca and Albany, New York, then moved to New York City, followed by Georgia to work at Tucker-Wayne as a writer and Creative Supervisor. Larry Moschel (1934- ) was born in Tampa, Florida. He graduated from University of Florida with a major in Advertising-Design. He worked at a small advertising agency in Tampa, Florida, then as Assistant Advertising Manager at Colonial Stores, followed by Tucker-Wayne as Art Director. Curtis Pirkle (1929- ) was born in Cumming, Georgia, where he worked at a drug firm. He then moved to Atlanta where he worked at Rexall Drug Company. He graduated from Georgia State College in 1958 with a BBA in Marketing. He worked his way up at Coats & Clarks to become Section Head of the Thread Department. He married Jeannelle Petty (1928-2019) and they had one son, Ben. Malcolm Linkous (1937- ) was born near Bluefield, West Virginia. He worked at Coats & Clarks as Section Head of Domestic Zippers. Bill Tolbert (approximately 1948- ) was born and raised in Roswell, Georgia. He was a marketing student at Georgia State. He worked at Continental Insurance and then worked in the order and inventory control department at Coats & Clarks.
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',0 '::, Access copy: Yes or No From To Access copy format: Recording clip 'Yes, r No ~-,-,> Clip extent: I)'<n" Time code for clip (h:m:s) Notes (interview summary) Beginning: (p' y; End: 15'1'/ , 11.""") .:..-.. , ....... Recording issues (background noise, echo, , static, etc,) Subject Information Enrer 'Informat"Ion a-bout the content 0 f theobll'ect here: Subject Date Exact Date (yyyy-mm-dd) (use only one) Year (if only the year is known) Circa (4 digit year) 1q!;" 1"\ Year Span From To Subject Who Last Name First Name MI 1iJ\".<..\r'l Jul"'\ L"",V o\..,\"),} H,,\(,,\l'\ \)<..("".,:,,, f\') Yvr, '16 \b" I '1'>,' \ \ f'Ao":;."'\ \ \ ({.I-lr,~ I <]7" k\'e (~d~', ) Subject Country State County Town Local Name Location .,y) C,,'~ AI ~,t\ ,,_ Subject What AHC Cataloger will complete this for you. (LOC subject headinos only) Keywords Burrison, John Personal names See subject who for additional names . - Corporate names Geographic locations Topics THE USE OF PICTORAL REPRESENTATIONS OF FOLKTALE MOTIFS TO DETERMINE CREATIVITY OF APPLICANTS FOR POSITIONS IN THE CREATIVE DEPARTMENTS OF ADVERTISING AGENCIES by T. M. CALLAWAY /1 .~. I , for Professor John Burrison Folk 301 Spring Quarter, 1969 GEORGIA STATE COLLEGE May 1969 TABLE OF CONTENTS Purpose of Report. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Approach.. . ..... ... .. . . . . .. .. . . .. . . ... . . . .... .. . ... . 1 Hypothesis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Interviews Conducted at Tucker-Wayne. . . . . . . . . . . . . . . . . . 2 Interviews Conducted at Coats & Clark. . . . . . . . . . . . . . . . . . 11 Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Pictures Used in Interviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 -1- In recent years marketing management has borrowed projective techniques from the field of psychiatry for adaptation to motivation research. One of the major projective techniques is the 'Themati c Apperception Test developed by Henry A. Murray. It consists of a series of cards containing different photographs, paintings, and drawings. The respondent is shown a card and asked to make up a story around the picture, to explain the situation, the events leading up to it, and the outcome, and describe the thoughts and feelings of the characters. The principle of projection is that even though a person may be unwilling to admit to his own feelings directly, he may do this indirectly in the way he describes other people, situations, or events. Purpose of this report: It will be the purpose of this report to attempt the use of a variation of the Thematic Apperception Test as a screening device in the selection of applicants for positions in the creative departments of advertising agencies. Approach: Interviews will be conducted with three respondents employed in the creative department of Tucker-Wayne Advertising Agency, and three respondents employed in routine clerical positions with Coats & Clark's Sales Corporation. - 2 - Each of these respondents will be shown pictoral representations of popular folktale motifs appearing in Joel Chandler Harris' Uncle Remus tales. The first of these will represent Ber' Rabbit and the Tarbaby; and the second, Ber' Rabbit playing dead in the road to steal food from Ber' Bear. Hypothesis: The author is of the opinion that the employees of Tucker-Wayne' s creative department will display greater wit, cleverness, imagination, creative ability, and word usage in the creation of stories relating to the pictures than will the employees of Coats & Clark's Sales Corporation, who are employed in non-creative, routine, clerical capacities. If this assertion proves correct, we may then say that this technique can be used successfully as a screening device when selecting applicants to fill positions in the creative departments of advertising agencies. In other words, this method will serve as a screening device to separate creative from non-creative talent. Interviews Conducted at Tucker-Wayne: With the permission of Mr. Al Cascino, Head of the Creative Department, I was able to interview three of Tucker-Wayne' s employees John Wheeler, Jean DeCasseros, and Larry Moschel. -3- John Wheeler, a Copywriter, was born in Des Moines, Iowa, in 1929. His father was a corporate engineer with General Electric resulting in many moves throughout the United States during John's childhood years. His family finally settled in Athens after having moved from Dallas, Texas, and Tampa, Florida. John attended high school in Athens, working on the school newspaper which stimulated his interest in journalism which became his major field of study while at the University of Georgia from which he graduated. After graduation, John went to work in the advertising department of Rich's, Inc., where he was employed for three years. After this he came to Tucker-Wayne and has remained with this firm for twelve years. Following is John's interpretation of the Tarbaby: "This is the Tarbaby, isn't it?" Interviewer, "Yes it is, it's from the Uncle Remus cycle of stories." John, "The bunny looks a little bit like Bugs Bunny ... a kind of angry Bugs Bunny. Belligerent because the Tarbaby won't speak to him." Interviewer, "Can you tell me the story of what leads up to this action here, and what happens afterwards?" John, "Let's see, I've forgotten this... is it Ber' Wolf and Ber' Fox that malte the Tarbaby? They are going to catch Ber' Rabbit and so he comes along and, of course, the Tarbaby doesn't speak to him. He comes -4- 4-- along and says, 'How's you symtoms saguaguatin this mawning, ' or something like that. Anyhow, he ends up hitting the Tarbaby, first with one fist and then with the other, and both feet. And then he's caught of course. Ber' Wolf or Ber' Fox, or both of 'em. I can't remember now. And then it ends up with this business of 'Eat me, cook me, do anything you want to, but don't throw me in the briar patch.' And, of course, that's what happens. The rabbit outwits the fox and is thrown in the briar patch and says, 'Born and bred in the briar patch!' That's about the story. " John's interpretation of "playing dead in the road" was not quite so humorous as his version of the "Tarbaby, " but reflects a great degree of perception told as follows: ''It must be hard times... there are no leaves on the trees. A bleak scene. You can't tell whether the rabbit has actually been shot with the arrow or whether he's just got it under his arm there and is getting ready to con.... that's the bear there isn't it?" Interviewer, "Yes, it's Ber' Bear. " John, "He may have something in mind that he is going to con him~~~ the bear out of. Maybe the bear has got something in those sacks there that the rabbit wants. I don't know what it would be. I guess bears are -5- so rt of vegetarians too, not entirely I guess. There may be something edible in there that the rabbit is trying to get. So maybe it's bleak times and he's hungry." "The expression on the bear's face is sort of one of puzzlement. He doesn't know quite what's going on there... he's not too bright you know. His IQ is rather limited. I don't know what the significance of two sacks are, one yellow and one gray. " Interviewer, "The other one is a club that he's holding in his hand." John, "Oh, it's a club, it's not a sack. That makes a different impression, it's an awful big club. " Interviewer, "Awful big bear, too!" John, "Yea! What's he done, has he clubbed what he's got in the bag or is he getting ready to club the rabbit?" Interviewer, "Well, no, not really. Actually, John, what I would like for you to do is make up a story about what you think is happening. " John, "What I think is happening? Well, O. K! Bad times and there's not very much to eat in the forest. So Ber' Rabbit who is always using his brains instead of his brawn decides that he is going to get something to eat that day. " "You see, he sees Ber' Bear out beating the bushes somewhere getting something to eat maybe, I still don't know what he's doing with that club unless he has been clubbing fish in the creek. So the rabbit, he runs out in the road like the road-runner and sticks the arrow up under his arm -6- and here comes the bear. And the bear has just approached and he doesn't really know just what to think about the whole thing. He's tempted, perhaps. Maybe he's thinking about using his club to knock the rabbit in the head if he isn't dead and throw him in the bag too. " "1 think the story stops right there because what you've got is a momentary action. 1 don't entirely know what has gone on before or what the conclusion will be. There's nothing to indicate what might happen. " My second interview at Tucker-Wayne was with Jean DeCasseros, Copywi'iter and Creative Supervisor. Jean was a petite, auburn-haired girl who looked ten to fifteen years younger than her age, and had been employed in the advertising profession twenty years. She was born in the late twenties in Mansfield, Pennsylvania, but left there when only an infant. After growing up in West Virginia, she attended college at Northwestern University from which she graduated. After graduation she was employed in a department store in New York City where she began her career in advertising. Leaving there, she was employed by several small advertising agencies until coming to Tucker-Wayne six years ago. Jean was a delightful and interesting person to talk with although 1 thought her perception and interpretation of the pictures was somewhat less crelJltive and imaginative than John Wheeler's. Her version of the Tarbaby follows: -7- Jean, "That must be the famous Tarbaby and Ber' Rabbit. Ber' Rabbit looks to me like he is harranguing him about something. He looks almost furious! Maybe he's just trying to get a point across, but he looks pretty upset with him and Tarbaby looks very imperturbable, stolid, and not the least bit affected by all this. " "I don't know what... maybe Tarbaby has Ber' Rabbit's log and he doesn't want him to sit there. Maybe he thinks it's about time Tarbaby got up and did something for a change instead of just sitting there on a log. " "Since I'm an activist in civil rights that would automatically come into my mind - - - What are you doing just sitting there? Why don't you get up and do something?" "I haven't any confidence that he's going to succeed, Tarbaby doesn't look to me like he's going to move for nobody fer nothing, but, uh, that's all I see. " Jean's interpretation of the Tarbaby was somewhat disappointing, but her version of "playing dead in the road" did show a little better perception and creativity. Jean, "Oh, dear," very mournfully. "Oh, I can't remember! What is that bear's name?" Interviewer, "That Ber' Bear. " Jean, "Ber' Bear! Oh, he's discovered poor Ber' Rabbit. Oh, I guess it's Ber' Rabbit, all laid out with an injury from an arrow. And he looks pretty concerned. " -8- "I think Ber' Rabbit, maybe, just tricking him because he looks awfully peaceful lying there. " Interviewer, "How do you think he's tricking Ber' Bear?" Jean, "Well, he has an awfully laid out look for somebody that just happened to get hurt or is supposed to be lying sprawled on the ground. He looks very much as though he wants to get something. Probably out of one of those bags the bear has. He figures that if he can trick him into putting them down he can jump up and maybe run away with one of them. And, he probably will succeed from the look on the bear's face. He looks very concerned. " "It makes me think of the story in the Bible of the good Samaritan- - -of people passing on the road on the other side and the good Samaritan helping him out. I have a feeling the bear's going to play the good Samaritan before it's all over and get trapped by this tricky little rabbit." I thought it to be particularly interesting how Jean ended both stones with reference to her ethnic, moral, or religious overtones. My concluding interview at Tucker-Wayne was with Larry Moschel, Art Director, a very neatly dressed and courteous, polite, well-mannered young man. born Larry was/in Tampa, Florida in 1934 and had lived there his entire life until his graduation from the University of Florida some ten years ago. His college major was Advertising-Design, and after his graduation he went to work with a small advertising agency in Tampa. From there he went to Colonial Stores as Assistant Advertising Manager and remained in that -9- capacity until coming to Tucker-Wayne six years ago; Although Larry's version of "Tarbaby" and "playing dead in the road" lacked the luster and articular talent of John Wheeler's versions, they did show a great deal more creativity and imagination than those related by Jean DeCasseros. This may be attributable, however, to Larry's volunteering information that his mother had told him many of the Uncle Remus stories during his childhood years. Below are Larry's interpretations of these stoJ1es as told to me. Larry, "Ber' Rabbit's notorious enemy was the, uh, Ber' Fox, wasn't it? So Ber' Fox made the Tarbaby and sat it on the log, and Ber' Rabbit kept asking it to answer any questions that he had. He had lots of different questions and naturally the Tarbaby didn't say anything. And so Ber' Rabbit got madder and madder and finally said he was going to punch him in the nose if he didn't answer him and, of course, the Tarbaby never did answer. And so he did punch him in the nose. And he said if you don't answer me this time, I'm going to punch you with the other hand. Well, he did and naturally every time he punched he got stuck to the Tarbaby. And he kicked him and his foot caught and he kicked him with the other one and so he was completely tied up to the Tarbaby 'cause he was stuck to him. " "So it was just one of the battles where Ber' Fox was trying to outwit Ber' Rabbit and in this case he did. I've forgotten the sequence that led up to it. How it ended, I assume it just ended with him stuck to the Tarbaby and that was the end of that particular story. " -10- To conclude my interview with Larry, he related this version of "playing dead in the road. " "I don't recall this one quite as well. I think in this case it was not Ber' Fox who was the vilHan; but, evidently, Ber' Rabbit was the villian. He was trying to out-fox the old dumb bear. I don't recall any particular story about him having an arrow in him though. So in this case you just want me to make up a story about it?" "0. K. Well, I guess it would be since the bear has bags in his hand that he was going to go hunting on his own to get some food. And so he was probably all rambuncious and ready to go when he started out and dreaming of all the good ole' food he was going to get in those bags. " "Then he comes across the hill and there's some food sitting right there. But, it's an old friend---if you want to call him a friend---an adversary. It's Ber' Rabbit. He's got an arrow in him so the bear thinks the rabbit is dead and that is what he was originally hunting for is food, but now he is sort of sad because he thinks that one of his old enemies is actually dead and he can picture not having Ber' Rabbit to fight with anymore. So, uh, I guess it's sort of a sad ending then. " This concluded my interviews at Tucker-Wayne Advertising Agency, and at this point I wish to extend my grateful appreciation to those who were so helpful, cooperative, and sharing of their time in contributing to this effort--- Mr. Al Cascino, John Wheeler, Jean DeCasseros and Larry Moschel. -11- Interviews Conducted at Coats & Clark's Sales Corporation: Seeking some basis for comparison between those advertising agency personnel and those who work in a less creative atmosphere, I next scheduled interviews at Coats & Clark's Sales Corporation with employees working in routine clerical positions. My first interview from this source was with Curtiss Pirkle, Section Head - Thread Department. Curtiss, a native of Cumming, Georgia, had been employed by Coats & Clark for the past twelve years. Prior to this he had been a student at Georgia State College until graduation in 1958 with a BBA in Marketing. Curtiss' interpretation of "Tarbaby" follows: Curtiss, "Uh, This looks like ole' Peter Rabbit trying to get the old, uh--- uh. Can't recall what his name is. Anyway, he's about to get stuck to this little baby doll who's been tarred and feathe,'ed. " Interviewer, "Do you recall what led up to this scene here?" Curtiss, "Uh, -----no, I don't recall. I don't believe exactly, but, uh, it seemed that ole Peter Rabbit was trying to outsmart---Uh, was it ole Ber' Fox? I'm not sure. And, uh, Ber' Fox, I believe is trying to outsmart Peter Rabbit. " Interviewer, "And that's the reason he has the Tarbaby sitting there? " "That's right. " Interviewer, "So what happens from this scene on?" -12- Curtiss, "I believe that ole' Peter Rabbit goes up and hits him with one hand, and it sticks and he hits him with the other paw and it sticks. Then he hits him with a foot and it sticks, and also, he ends up being tied to the Tarbaby. " Interviewer, "Do you remember what happens after that?" Curtiss, "No. Let's see. I can't recall what happened. The sun came up and it got hot and melted the Tarbaby and Peter Rabbit got away. " Curtiss' version of "playing dead in the road" was just as disappointing. "Well, this is ole' Ber' Bear and, uh, ole' Peter Rabbit laying there making like he's dead. But he, uh, the arrow. Think he's trying to outsmart old Ber' Bear there. " "I don't remember where ole' Bet Bear might be going. I don't recall why Peter Rabbit was doing this. " Interviewer, "Have you heard that particular story?" "I can't recall this story. " Interviewer, "You say you thought the rabbit was trying to outsmart the bear? " "R ight. " "What do you think his obj ective was in doing this? " Curtiss, "I think he's trying to take something from Ber' Bear. " "Do you recall what?" Curtiss, "No, I can't recall this story at alL" -13- This concluded my interview with Curtiss Pirkle. Although his stories lacked imagination, wit, or humor, Curtiss was very congenial and cooperative. My second interview was with Malcolm Linkous. Malcolm, born in 1937 in a small town near Bluefield, West Virginia, had been with Coats & Clark for 9 1 (2 years and currently holds the position of Section Head-Domestic Zippers. My interview with Malcolm was brief when compared with previous interviews---I seemed to sense some hostility in his attitude towards my purpose. Below is his interprEfu.tion of "Tarbaby." Malcolm, "Well, uh, that's Ber' Rabbit and the Tarbaby. And it seems as though Ber' Rabbit walked by and spoke to the Tarbaby, and the Tarbaby didn't want to talk with him because he couldn't, of course. He got disturbed about it and wanted to fight him. Which he did. He got entangled with the Tarbabyand got himself all messed up in the tar. " Interviewer, "Do you remember what happens after that?" "Vh, no, I can't remember what happens except there is a moral to the story. Of course, that's obvious. I' "Do you remember what led up to the Tarbaby being there, how he got there, or ----?" "Naw, it l S been a long time." Malcolm seemed even more unwilling to cooperate on the second picture, "playing dead in the road. " -14- Malcolm, "Well, it seems as though the bear is after some honey, --possibly, and uh, ---Ber' Rabbit is faking a death. But I can't recall the story behind that particular one. " Interviewer, "Why do you think Ber' Rabbit is faking like he's dead?" "Well, it appears that the arrow is between his arm and his chest. " "Do you remember why he is doing that?" "No, I sure don't. Unless, uh, I'm not going to venture a guess here. " My concluding interview at Coats & Clark's was with Bill Tolbert, the youngest of all those whom I interviewed. Bill, 21 years of age, had been in this employ only six months, working in the order and inventory control department. Surprisingly, I discovered he, too, is a student at Georgia State. Bill seemed very enthusiastic and cooperative. His interpretation of "Tarbaby" is as follows: Bill, "Well, this is the Uncle Remus Tarbaby story. Ber' Rabbit is trying to, uh, talk the Tarbaby into coming into a fight with him. And the events that led up to this are Mr. Fox and Mr. Bear were always trying to catch Ber' Rabbit. Never had any success! And so, they thought of a sure fire scheme this time with the Tarbaby. " "They made a little man out of tar, sticky tar. Dressed him like a little man and sat him on a log knowing that Ber' Rabbit would come along and see him and say, 'Hi!' to him because Ber' Rabbit was a friendly person. So Ber' Rabbit came down the road. Saw the Tarbaby sitting there and said, 'good morning, Tarbaby!' Tarbaby just sat. " -15- "He kept trying to get him to talk. Said, 'good morning.' And it sort of made him mad because he wouldn't even talk back to him. So Ber' Rabbit said, 'Well!' Tried to get him to fight then. Said, 'If you are going to be that unfriendly just come on.' And this was the idea of the whole scheme- -Ber' Rabbit start fighting the Tarbaby and he's going to get stuck. And then Mr. Fox and Mr. Bear could catch him, but it didn't work quite this way. Because, as I remember it, uh, Ber' Rabbit took off and knocked the Tarbaby over, and they rolled down in the briar patch and they thought for sure they had him then. But Ber' Rabbit was raised, born and raised, in this briar patch and knew everything about it and the briars didn't bother him. So, whenever, uh, Ber' Fox and Ber' Bear came down to grab him they were stuck in the briars and Ber' Rabbit was long gone. " Interviewer, "Is that the conclusion of the story?" Bill, "That's the conclusion of the story. " Bill was less familiar with "playing dead in the road. " "Well, there's Ber' Rabbit again. Laying on the road looking as if he's been shot by an arrow. Ber' Bear's came over, got him a bag. He's going to put Ber' Rabbit in it. They think they got him again--like always, but the arrow is not actually in him. It's stuck under his arm and Ber' Bear's going to get the surprise of his life when Ber' Rabbit jumps up. Matter of fact, it will startle him to death. " "And this one, I'll tell you the truth, I really don't recognize this from the story. I may have heard the story, but, uh, that's not too familiar. -16- But this is the way I would picture it, as another one of their wild schemes to get Ber' Rabbit, but he, uh, as usual it hasn't worked. They missed, he grabbed the arrow, stuck it under his armto look as if he had been shot. And, uh, as Ber' Bear comes over to stick him in the bag, he's going to jump up and scare him to death and then he'll be long gone again. " Conclusion: Most organizations which utilize testing techniques in the selection of applicants use one,or a combination of five, commonly accepted types of tests; performance tests, intelligence tests, aptitude tests, personality tests, or situational tests. The use of folktale motifs to test creativity of applicants for positions in the creative departments of advert ising agencies would qualify as a performance type test. That is, it would be a sample of their creative ability. However, the greatest disadvantage of this method is that it is an evaluation based on the subjective judgment of the individual interviewer, and as such, is subject to his individual bias and perception which may, and often does, differ radically from one person to another. In my interviews with the advertising personnel at Tucker-Wayne, I asked what use this would be in selecting applicants for their creative department. Although it was admitted that folklore studies would broaden an individual's frame of reference, thereby enhancing his creativity, the -17- consensus of opinion was that this testing technique was at least one step removed from the marketing situation. In other words, the type of creative ability necessary to create a marketing situation is not necessarily the same type of creative ability necessary to create a story about a given situation with no basis as a marketing function. There was general agreement, however, that by havin~ applicants write a story about these pictoral representations of folktale motifs, you could objectively measure word choices and journalistic aptitude or ability.
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Professor John Burrison founded the Atlanta Folklore Archive Project in 1967 at Georgia State University. He trained undergraduates and graduate students enrolled in his folklore curriculum to conduct oral history interviews. Students interviewed men, women, and children of various demographics in Georgia and across the southeast on crafts, storytelling, music, religion, rural life, and traditions.
As archivists, we acknowledge our role as stewards of information, which places us inaposition to choose how individuals and organizations are represented and described in our archives. We are not neutral, andbias isreflected in our descriptions, whichmay not convey the racist or offensive aspects of collection materialsaccurately.Archivists make mistakes and might use poor judgment.We often re-use language used by the former owners and creators, which provides context but also includes bias and prejudices of the time it was created.Additionally,our work to use reparative languagewhereLibrary of Congress subject termsareinaccurate and obsolete isongoing. Kenan Research Center welcomes feedback and questions regarding our archival descriptions. If you encounter harmful, offensive, or insensitive terminology or description please let us know by emailingreference@atlantahistorycenter.com. Your comments are essential to our work to create inclusive and thoughtful description.